“Armonia Nova is an ensemble of instruments and voices based in the Washington D.C. area. Its members perform medieval and Renaissance music of Europe on instruments that are re-creations of historical instruments, applying scholarship and informed historical performance practice. Members of Armonia Nova strive to achieve an historically authentic performance with the desire for the listener to hear this remote yet remarkably beautiful music as it might have sounded when it was newly created.

Armonia Nova has been frequently praised for its intelligent and creative programming. The performances of this ensemble capture the emotional content of the music, bringing an intensity and immediacy to the performance while maintaining the purity and clarity of tone so essential to music of these early periods.”

“Based in Washington, DC, Ensemble Gaudior is dedicated to performing masterpieces of chamber music from the Baroque and Classical eras, using instruments from those periods or careful modern copies. By presenting this repertoire to modern concert audiences, we hope to contribute to the process of moving our world toward greater harmony. (The name Gaudior is borrowed from the musical unicorn in Madeleine L’Engle’s book A Swiftly Tilting Planet, who time-travels through the universe joyfully harmonizing with the music of the stars and planets.)”

“Harmonious Blacksmith combines the best of creative conceptual programming with the fire of virtuoso performing and improvising. Uniquely focused on the connection between composition and improvisation in Renaissance and Baroque music, Harmonious Blacksmith looks back to the age-old practices of improvising dance music and ornamenting songs. …

Harmonious Blacksmith was founded in 2006 by harpsichordist Joseph Gascho and recorder player Justin Godoy. They met while studying at the Peabody Conservatory in Baltimore, performing together in the Peabody Renaissance Ensemble under the direction of Mark Cudek. They also performed together at the Amherst Early Music Festival, the International Baroque Institute at Longy, and in numerous recitals in the Baltimore/DC area. …”

“Modern Musick, under the artistic leadership of music director John Moran and concertmaster Risa Browder, is a baroque chamber orchestra founded in Washington, DC in January 2002. Taking its name from an eighteenth century primer The Modern Musick-Master or the Universal Musician, Modern Musick seeks, through the immediacy of live performance, to restore a sense of newness to music of the 17th and 18th centuries. To this end Modern Musick uses period instruments and historical performance practices as a starting point allowing the musicians the freedom to make new discoveries. Modo (latin for “just now”), the root of the word “modern” is the perfect description for cutting edge music making of the moment.“

“The Vivaldi Project is a premier period instrument ensemble dedicated to presenting 17th- and 18th-century string repertoire. The name, The Vivaldi Project, refers not only to the group's core repertoire―the extraordinary works of the virtuoso violinist and composer, Antonio Vivaldi―but also the project of probing into the roots of Vivaldi's distinctive musical style. Vivaldi's innovative contributions to string writing, the concerto genre, and programmatic orchestral music place him as as a pivotal figure between earlier baroque composers and later classical composers. The Vivaldi Project explores this link through both chamber and orchestral works (those well-known and beloved as well as those rarely heard) from Stradella, Legrenzi, and Corelli, to J.S. Bach and his sons, and ultimately to Haydn, Mozart, and Beethoven. …

The Vivaldi Project, under the leadership of violinist Elizabeth Field and cellist Stephanie Vial, has been gaining critical acclaim for its brilliant and expressive string playing, as well as its innovative programming which combines scholarship and performance to both educate and delight audiences. The members and guest artists of The Vivaldi Project include leading soloists, concertmasters, teachers, and musical scholars in the Washington, DC area and around the country. Since it was founded by Field in 2006, the Vivaldi Project has performed throughout the DC area, and for the Washington and Boston Early Music Festivals. In 2010, the ensemble toured the Piedmont region of North Carolina with an unprecedented performance of all six of C.P.E. Bach's String Sinfonias, W. 182, under guest conductor John Hsu. The final live performance of these works at the National Presbyterian Church in Washington, DC will be released on CD by Centaur Records on April 2, 2012.”

“Taking its name from a prevalent theme of the age of Louis XIV, Le Tendre Amour is based in Barcelona, though its members are originally from many corners of the world. Since their beginning, the emphasis has been in creating unusual programs, always with the aim of pleasing audiences of all ages.

The ensemble, directed and organized by Katy Elkin and Esteban Mazer, has performed in top early music festivals in Germany, Austria, Belgium, Holland, France, Croatia, Bulgaria, Slovenia, and Spain. In 2008 Le Tendre Amour was awarded the prize for best interpretation at the Varazdin Baroque Evenings festival (Croatia) for their program of Jewish baroque music.

Over the past few years, their artistic interest has turned towards the field of chamber opera, although they continue performing various repertoires in their original format of seven musicians. (See our “Programs” page for details). Le Tendre Amour has recorded a CD of sacred French cantatas for the label K617 (France) called Le Passage de la Mer Rouge. Their next release is a CD of English music called “All in a Garden Green” for the label Brillant Classics (Holland), available March 2012.“

“Ghislieri Choir & Consort, Baroque ensemble in residence at the College Ghislieri, provides some of the best singers and instrumentalists Italian Baroque. Has an active project of rediscovery of the sacred choral reperorio the eighteenth century that will be released worldwide by Sony-Deutsche Harmonia Mundi. …” (Google Translate)

“The early music ensemble wasfounded in1999 as agroup of fivemusicians withZehm-ElisabethThoma as director. The ensemble’s main focusis the interpretation ofmusic from the MiddleAges andRenaissance music.Singingandhistorical instrumentssuch aslyre,viol,Renaissanceflute,trumpets, harpand percussion are performed in concerts. …”

“THE GOOD PENNYWORTHS, a vocal ensemble with lute accompaniment from NYC, was founded in 2007 to explore lute songs and traditional folk ballads with dramatic flair. The group’s concert programs feature quartets, duets and solo songs, engagingly staged to bring out the laughter and passion contained in these songs. …”

“One of few professional lute ensembles, the Venere Lute Quartet performs Renaissance and Baroque masterworks and is actively expanding the surviving lute ensemble repertoire with its own arrangements. The ensemble has performed throughout the United States and in Europe. Some appearances include the Lute Society of America, the Seattle Early Music Guild, La Guitarra California, Amherst Early Music Festival, Cambridge Society for Early Music, and the Fodella Foundation Series in Milan, Italy. Members of the Quartet are busy lute professionals in four of America's leading early music centers (Boston, New York, Chicago, and Minneapolis) who share a deep commitment to ensemble playing, lute scholarship, and audience education. “

“Carreg Lafar means 'speaking stone', an echo stone. At the forefront of the Welsh traditional music scene, the group has changed many peoples' view of traditional Welsh music with their passionate and lively performances. Through a mix of traditional and original music, Carreg Lafar presents a vibrant spirit whilst remaining rooted in the language and living tradition of Welsh song and dance music. The music is arranged for traditional and contemporary instruments including fiddle, flute, pibgorn (hornpipe), pibau (bagpipes) and guitar, together with dynamic vocals. The group has made three albums with Sain records, 'Ysbryd y Werin', 'Hyn' and 'Profiad'.”

“If Wales is known as the Land of Song, the tunes have had to take a back seat until the arrival of Crasdant - the foremost instrumental band of the country.

Take four gifted instrumentalists, all with impeccable solo musical credentials, combining out of mutual respect and with a focussed aim of placing the Welsh instrumental canon alongside its Celtic brethren.

Crasdant mix the traditional harp of Wales, the unique triple harp, with flutes, fiddle, accordion, guitar and Welsh reed instrument - the pibgorn. Adding a terpsichorean spice to the mix is the flamboyant step-dancing of a champion clogger. …”

“In the lute songs of the Elizabethan masters, music is at the service of poetry. This age of Shakespeare, Jonson, Spenser, and Donne saw English verse rise to heights of expressivity still unsurpassed. To sing to the lute is an art barely separate from the art of declaiming verse. It requires clarity and beauty of tone, a natural flow of language, and a delicate sense of dialogue with the lute the instrument of courtly love. Morrongiello and Young bring to life the flower of Elizabethan music in their programs of lute songs, fantasias and instrumental dances for lute, voice, and renaissance harp.”

“In the summer of 2005, a few singers in the Madison Early Music Festival decided that it was a fine idea to get together and delight themselves with singing madrigals. The group's first piece—William Byrd’s “This sweet and merry month of May”, whose ending celebrated Queen Elizabeth I with the words

And greet Eliza with a rhyme:
O beauteous Queen of Second Troy,
Take well in worth a simple toy.

provided a great name for the group. Eliza’s Toyes was born, and existed every summer in Madison, Wisconsin.

In 2008, a fair number of singers who were in Eliza's Toyes are living in Madison once again. Thus we gather, outside of the Festival, for the joy of music making. It is our pleasure to continue sharing this wonderful body of music with you for the second year!”

The hymns were collected in Sweden, Estonia and the Ukraine. Many of the ballads were preserved without melodies and Ulv has shaped new ones from medieval motives and other existing folk tunes.

The Swedish medieval ballads have roots in both Icelandic mythology and the European ballad tradition. Many ballad texts have been documented without melodies and Ulv has shaped new melodies from medieval motives and other existing Swedish folk tunes that fit the surviving texts.

The Swedish folk hymns were sung both in church and at home. Some organists held the final tone of the hymn phrases so the singers could finish their own ornamented versions. At home, the hymns could be sung and ornamented without additional harmonies.”

“Tinktur is a newly formed ensemble with a love of early music. We create theatrical performances for church or chamber room. The voice, lute and poetry woven together and a living history is told.

Tinktur is made ​​up of Ann-Christine Wesser Ingels (vocals), Sofia Thelin Edgren (vocals) and Fredrik Bock (lute, theorbo, etc.), all familiar faces from the Swedish music scene.All three have a classical background, but downloading is fond of inspiration from song and folk tradition ...In the theatrical process, we collaborate with registered consultants.For specific programs and performances extended ensemble with more known musicians from Sweden and Denmark.”

“In their endeavour to find new perspectives on old music, Rebaroque have chosen to co-operate with several soloists and conductors. Together with soprano Susanne Rydén the ensemble toured in 2005-2006 with the musical drama "Christina's Journey", which was also broadcast on Swedish national television (SVT) and was highly acclaimed by the critics when released on CD.

Rebaroque works with choirs such as The Swedish Radio Choir, The Mikaeli Chamber Choir, and Eric Ericson's Chamber Choir, and has apart from TV-appearances made numerous radio recordings and live broadcasts, of which several have been European broadcasts.”

“Poul Høxbro is a true pioneer in the field of music. He has been called ”the great man of small instruments” and it is true that he is quite unique in the way he has taken the medieval instrument of pipe and tabor – played simultaneously by one person – out of the shadows and into the full glare of concert platforms all over the world.

He has performed in intimate chamber music settings, as a soloist in a contemporary Danish opera at the Royal Opera House in Copenhagen, on traditional music stages, at medieval markets, and as a theatre musician. Poul Høxbro has amazed and delighted audiences with his virtuosity and lively musicality, crossing the borders of what might be expected from his ”small” instruments – instruments which, apart from pipe and tabor, include all types of historical percussion and traditional flutes. …”

“The STUDIO DE MUSIQUE ANCIENNE DE MONTRÉAL is dedicated to performing and promoting musical works written prior to 1750, with the intention of recreating and reintroducing this forgotten music, taking great care to maintain its authenticity. With its professional vocal ensemble, it premieres and presents concerts, and produces audiovisual recordings in Canada and abroad. …”

“Founded in the summer of 2007 by harpsichordist John Austin Clark and baroque violinist Nicolas Fortin, Bourbon Baroque is a period instrument ensemble based in Louisville, Kentucky that specializes in the historically informed performance of 17th and 18th century music. Through inter-related arts collaborations and with a sensitivity for the modern audience, Bourbon Baroque performs regularly throughout the year in a variety of venues, often collaborating with other transformative and innovative organizations such as Moving Collective, Choral Arts Society of Louisville, Kentucky Opera, Louisville Youth Choir, and Musica Toscana. Based on a given program, Bourbon Baroque can be heard in chamber, orchestral, and choral/operatic settings. Be a part of Louisville's new vibrant musical initiative and discover the energy and dance as the music of the Baroque resounds in our minds, bodies, and in our slow-sipped bourbon.”

“The City Musick is an ensemble recently formed to explore the lives and repertoires of the Waits, civic musicians who would have been a familiar sight in towns and cities in England in the 16th and 17th centuries. The name is also given to the long-term research project into the waits being undertaken by its director, William Lyons. The City Musick has given several concerts in the UK and abroad, their debut actually being in the USA where they gave a successful series of concerts in 2009 including a performance at the reconstructed Blackfriars Theater in Staunton, Virginia. Most recently the ensemble performed at the Waits symposium organized by William Lyons at the Museum of London, where the ensemble in it’s various manifestations gave recitals of waits music. The members of The City Musick are all seasoned professionals specializing in historical performance, working with other leading period music ensembles and at the Shakespeare’s Globe Theatre in London

“The Pacific Collegium aims to bring exceptional vocalists together with period instrumentalists in adventurous exploration of the marriage of text and music—the meeting of the natural instrument with the artful. Specializing in 16th- through 18th-century vocal chamber music and choral music, as well as the occasional foray into the modern repertory, we are committed to the presentation of virtuosic literature in both concert and liturgical settings. We are Artists-in-Residence at St. Paul’s Episcopal Church, Oakland and provide music for the Traditional Latin Mass at St. Margaret Mary’s Catholic Church, Oakland. …”

“The Tallahassee Bach Parley performs music of the Baroque era (approx. 1600-1750), using period instruments as often as possible, to recreate the experience of listening to this music as it may have sounded hundreds of years ago. The Bach Parley is made up of musicians who are trained in historically informed performance. They are mainly local professional performers and teachers, and FSU faculty and students. Many of the musicians also perform in Baroque music groups around the country, such as in Atlanta, New York, and Boston.

The word "parley" in French means discussion; the Tallahassee Bach Parley seeks to inform the audience by offering some commentary at each concert. Such dialogues give the audience historical background about the composers and their world, and an idea of what to listen for in the music. The educational commentary connects the audience with what the musicians are playing, breaking down barriers between performers and listeners, and makes the concert atmosphere more relaxed and the audience more enlightened and engaged.”

“Tempest is Halifax's innovative Baroque music ensemble on period instruments led by internationally acclaimed violinist David Greenberg. Other members of the group include Symphony Nova Scotia musicians Kirsty Money (vln/vla), Karen Langille (vln), Celeste Jankowski (vln/vla), Hilary Brown (cello), and Max Kasper (double bass).

Since its creation in January 2001, Tempest has presented numerous concerts and has recorded for CBC radio and television. Tempest has collaborated with artists such as Chris Norman (flute, director of The Chris Norman Ensemble, and the Boxwood Festival, Lunenburg), Francis Colpron (recorder, director of Les Boréades, Montreal), David McGuinness (keyboards, director of Concerto Caledonia, Glasgow), Matthew Wadworth (lute, Montreal), as well as Nova Scotia's own Scott Macmillan (guitar). Tempest has been the orchestra-in-residence at the Boxwood Festival since 2006.”

“The members of Artefactum are experienced performers with musical careers which are as rich and complex as their experience of life itself, and it is this which is fundamental tounderstanding the pieces they create. It is impossible to transmit feelings which have not been actually experienced; emotions cannot be learnt from a musical score. The medieval era is perhaps the historical period which most personified the contrast between monastic simplicity and the picaresque flavour of life in the taverns, between the comforts of the royal courts and the penuries of the pilgrims’ route to Santiago. Although it may seem hard to believe, all these elements and many more are present in Artefactum ...